About

Sarah is thrilled to be a student of Julia Faulkner at the Curtis Institute of Music in Philadelphia. She is looking forward singing Monica in Menotti's The Medium and in the world premiere of 24 (La cura per-amore) this upcoming fall, as well as covering Despina in Mozart's Così fan tutte in Curtis Opera Theatre's spring production. Her love of early music is growing more and more, and recently, she participated in three masterclasses with Italian contralto, Sonia Prina, and was named a finalist in the Camille Coloratura Awards. She also sang for world-acclaimed mezzo Dolora Zajick in a Curtis-led masterclass. Last year, she portrayed Annio in Mercy, a cinematic adaptation of Mozart's La Clemenza di Tito directed by Chas Reder-Shieber and guest director, tenor Alek Shrader. She also recorded Czech folk songs of Janáček and the Wood Sprite Trio of Dvořák's Rusalka in an all Czech recital with Milos Repicky. An active participant in new music, she premiered a work by fellow Curtis student Elise Arancio, in an art song setting Jericho Brown text, a living poet. She will be premiering a work of Cuban-American composer Tania León at the Musical Fund Society in Philadelphia (spring '22), performing a piece written specifically for her voice.

Over summer 2021, she attended both the Classic Lyrics French and Italian programs with pianist and coach Glenn Morton, which, due to the pandemic, took place in upstate New York. Prior to the COVID-19 Pandemic, she was planning to attend Songfest at the Colburn School as a Colburn Fellow, as well as the Aims program in Graz, Austria. In summer 2019, she made her role debut as Cherubino in Mozart’s Le Nozze di Figaro at the Berlin Opera Academy, and attended the Classic Lyric Arts program in Emilia-Romagna, Italy. She got the opportunity to perform opera scenes around the region in Italy, as well as sing in masterclasses with agent Sandra Hormozi and soprano Donata D’Annuzio Lombardi. At Oberlin in Italy, where she sang in Puccini’s La Rondine in 2018, and participated in a masterclass with conductor of Opera Colorado, Ari Pelto. In the summer of 2017, she sang Barbarina in Le Nozze di Figaro at the Manhattan Opera Studio's Summer festival, covering Susanna. Here, she sang in a masterclass for conductor Roger Malouf.

Since starting at Curtis in 2019, she has performed at the Kimmel Center under the baton of Yannick Nézet-Séguin with the Curtis Symphony Orchestra in the Cosi fan Tutte sextet. Over the course of her first semester, she covered Rosina in the mainstage opera Il Barbiere di Siviglia and performed works by Johann Sebastian Bach with a chamber ensemble, that marking her first early music performance. In the winter, she sang in the Shostikovich cycle "From Jewish Folk Poetry" (Op. 79) in a concert of Russian works with Ghenady Mierson and made her Curtis Opera debut as Cis in Britten’s Albert Herring, covering the role of Nancy. In partnership with the Temple Institute on Disabilities and SoundLab, she sang the world premiere of Robert Whalen’s Lost Time, an art song compiling the words of Bobby Evans and Steidl who both use Voice Assistant Technology.

Before Curtis, Sarah attended Columbia University and the Juilliard Exchange-Program for two years, studying under voice chair, Edith Bers. At Columbia, outside of her academics, she sang with the Columbia New Opera Workshop as Pamina in Mozart's Die Zauberflöte, Rosalinda in Strauss's Die Fledermaus, and in multiple opera scenes, including the North-American Premiere of No Masque for Good Measure by Canadian composer Matthew Ricketts. In her final spring, she narrated Stravinsky's L'Histoire du soldat. She was also involved in two a capella groups, the Columbia Music Performance Program, and Musical Mentors Collaborative where she taught voice lessons to children attending public school.

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"Effervescent, harnessing grace and captivating emotion... and with pure vocal prowess"

Columbia Spectator

She attended the Juilliard Pre-College her senior year of high-school, studying with Lorraine Nubar. In high-school and grade school, she was heavily involved in musicals and performed in countless shows and concerts, and is still very passionate about theatre. Some of her favorite roles include: Clara (The Light in the Piazza), Maria (The Sound of Music), Anna (The King and I), Nellie (South Pacific), Vivienne (Legally Blonde), Meg (Little Women), Fastrada (Pippin) and Daniela (In the Heights). She also participated in workshops of a genre-blending Dido and Aeneas at NYU and a review of songs set to Sean O’Casey writings at the Irish Repertory Theater downtown.

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She has been awarded scholarships from the George London Foundation and the Voce di Meche opera blog. She was a National Semi-Finalist/Regional Finalist at the New York Lyric Opera national competition two years in a row, and was a finalist in the Hal Leonard national competition. She won Outstanding Lead Actress in a Musical at the National Youth Theater Awards twice and was nominated two other times.

Sarah started taking voice lessons at age 8, and is so grateful that she gets to pursue her passion to its fullest extent. At 10, she started studying with mezzo Gulnara Mitzanova and since then, has been exploring the joy her voice brings to her, as well as to other people. She wishes to use her voice in all capacities, as she believes artists have the beautiful opportunity and responsibility to spread light, love, and compassion for all beings. She loves literature, nature, art, and hopes to combine all of her disciplines to keep exploring what it means to be alive.

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